The Black Rep’s latest production is a compelling drama from one of America’s most celebrated playwrights, August Wilson. An installment in his cycle of plays chronicling the experience of African Americans in each decade of the 20th Century, Seven Guitars is a thoughtful, extremely well characterized play that presents the plight of various characters and their hopes and dreams in 1948 Pittsburgh. The Black Rep’s production is highlighted by thoughtful staging and a top-notch cast.

This is one of those plays that tells us its end at the very beginning. From the start, we know that one of the play’s central characters, blues musician Floyd “Schoolboy” Barton (Kingsley Leggs) has died, and various of his friends are gathered in a backyard after his funeral. What it doesn’t tell us right away, is how Floyd died and what events led up to the gathering in the first scene, and that’s the focus of the story. Most of the play takes place before the initial scene, and we see how Floyd, recently released from prison, tries to re-establish his relationship with girlfriend Vera (Linda Kennedy), and reconnect with fellow musicians Canewell (Phillip Dixon) and Red Carter (Reginald Pierre) and journey to Chicago for a recording session at the record company for which he recorded a previous song that has become a surprise hit. He’s staying with Vera, but Vera’s not so sure she wants Floyd back, since he had previously left her for another woman. Also in the picture are Vera’s neighbors, Louise (Cathy Simpson) and King Hedley (Ron Himes). Hedley, who makes a living selling homemade chicken sandwiches and eggs from the chickens he raises and is treated by the others as something of an eccentric, is full of dreams, regrets, and strong opinions about how black men are treated and oppressed by the white establishment. Louise is waiting for the arrival of her niece Ruby (Lakesha Glover) from out of town, and when Ruby finally arrives she carries with her some secrets of her own.

This is a long, complex play with extremely well-drawn characters and unfolding situations that build gradually and, eventually, explosively. The direction is deliberate and the cast is ideally chosen, led by Leggs in a compelling performance as the ambitious Floyd. He’s also got a great voice and performs well on the guitar during the show’s musical moments. Himes is also extremely strong as the determined, complex Hedley, as is Kennedy as the conflicted Vera. The whole cast is strong, and the musical performances featuring Leggs, Pierre, and Dixon are memorable as well. It’s a cohesive cast, bringing a lot of energy and weight to Wilson’s excellent script.

The technical aspects of the production are well-presented in Tim Case’s detailed set and Michael Alan Stein’s excellent period-specific costumes. Jim Burwinkel’s lighting adds a lot to the mood of the production, as does Maril Whitehead’s sound, particularly in the musical moments of the show.

Seven Guitars is a long play, but Wilson’s superb dialogue and story pacing, along with the excellent performances of the cast, makes every minute count. This is a gripping story that provides a great deal to think about in terms of how things used to be, as well as how they still are a lot of the time. It’s a memorable production from the Black Rep.